text:
A Senate bill with full RIAA backing is looking to require tight end-to-end DRM for digital media transmission like satellite radio and webcasts. When support crosses party lines, you just know there's serious money involved.
Fcuk the RIAA.
You can record, but you can't choose what to record, or filter what you record automatically?
What kind of bull$hit is that?
PulEEEEEEEEEEze. If this isn't an effort to stop innovation it its tracks, I don't know what is.
Sad thing is, this will probably pass.
This is really getting silly. Its obvious that they have lost total control of their product lately they have been flailing about quit disturbingly. They need to figure out how to go with the flow and pick up on advantages as they appear.
Some light reading for you: it turns out that the link to Senate records didn't work out so good...
Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled,
This Act may be cited as the ``Platform Equality and Remedies for Rights Holders in Music Act of 2006'' or the ``Perform Act of 2006''.
(a) Section 112 Licenses.--Section 112(e)(4) of title 17, United States Code, is amended in the third sentence by striking ``fees that would have been negotiated in the marketplace between a willing buyer and a willing seller'' and inserting ``the fair market value of the rights licensed under this subsection''.
(b) Section 114 Licenses.--Section 114(f) of title 17, United States Code, is amended--
(1) by striking paragraph (1);
(2) by redesignating paragraphs (2), (3), (4), and (5) as paragraphs (1), (2), (3), and (4), respectively; and
(3) in paragraph (1) (as redesignated under this subsection)--
(A) in subparagraph (A), by striking all after ``Proceedings'' and inserting ``under chapter 8 shall determine reasonable rates and terms of royalty payments for transmissions during 5-year periods beginning on January 1 of the second year following the year in which the proceedings are to be commenced, except where a different transitional period is provided under section 6(b)(3) of the Copyright Royalty and Distribution Reform Act of 2004, or such other period as the parties may agree.'';
(B) in subparagraph (B)--
(i) in the first sentence, by striking ``affected by this paragraph'' and inserting ``under this section'';
(ii) in the second sentence, by striking ``eligible nonsubscription transmission''; and
(iii) in the third sentence--
(I) by striking ``eligible nonsubscription services and new subscription''; and
(II) by striking ``rates and terms that would have been negotiated in the marketplace between a willing buyer and a willing seller'' and inserting ``the fair market value of the rights licensed under this section'';
(iv) in the fourth sentence, by striking ``base its'' and inserting ``base their'';
(v) in clause (i), by striking ``and'' after the semicolon;
(vi) in clause (ii), by striking the period and inserting ``; and'';
(vii) by inserting after clause (ii) the following:
``(iii) the degree to which reasonable recording affects the potential market for sound recordings, and the additional fees that are required to be paid by services for compensation.''; and
(viii) in the matter following clause (ii), by striking ``described in subparagraph (A)''; and
(C) by striking subparagraph (C) and inserting the following:
``(C) The procedures under subparagraphs (A) and (B) shall also be initiated pursuant to a petition filed by any copyright owners of sound recordings or any transmitting entity indicating that a new type of service on which sound recordings are performed is or is about to become operational, for the purpose of determining reasonable terms and rates of royalty payments with respect to such new type of service for the period beginning with the inception of such new type of service and ending on the date on which the royalty rates and terms for preexisting subscription digital audio transmission services, eligible nonsubscription services, or new subscription services, as the case may be, most recently determined under subparagraph (A) or (B) and chapter 8 expire, or such other period as the parties may agree.''.
(c) Content Protection.--Section 114(d)(2) of title 17, United States Code, is amended--
(1) in subparagraph (A)--
[Page: S3511] GPO's PDF
(A) in clause (ii), by striking ``and'' after the semicolon;
(B) in clause (iii), by adding ``and'' after the semicolon; and
(C) by adding after clause (iii) the following:
``(iv) the transmitting entity takes no affirmative steps to authorize, enable, cause or induce the making of a copy or phonorecord by or for the transmission recipient and uses technology that is reasonably available, technologically feasible, and economically reasonable to prevent the making of copies or phonorecords embodying the transmission in whole or in part, except for reasonable recording as defined in this subsection;'';
(2) in subparagraph (C)--
(A) by striking clause (vi); and
(B) by redesignating clauses (vii) through (ix) as clauses (vi) through (viii), respectively; and
(3) by adding at the end the following:
``For purposes of subparagraph (A)(iv), the mere offering of a transmission and accompanying metadata does not in itself authorize, enable, cause, or induce the making of a phonorecord. Nothing shall preclude or prevent a performing rights society or a mechanical rights organization, or any entity owned in whole or in part by, or acting on behalf of, such organizations or entities, from monitoring public performances or other uses of copyrighted works contained in such transmissions. Any such organization or entity shall be granted a license on either a gratuitous basis or for a de minimus fee to cover only the reasonable costs to the licensor of providing the license, and on reasonable, nondiscriminatory terms, to access and retransmit as necessary any content contained in such transmissions protected by content protection or similar technologies, if such licenses are for purposes of carrying out the activities of such organizations or entities in monitoring the public performance or other uses of copyrighted works, and such organizations or entities employ reasonable methods to protect any such content accessed from further distribution.''.
(d) Definition.--Section 114(j) of title 17, United States Code, is amended--
(1) by redesignating paragraphs (10) through (15) as paragraphs (11) through (16), respectively; and
(2) by inserting after paragraph (9) the following:
``(10)(A) A `reasonable recording' means the making of a phonorecord embodying all or part of a performance licensed under this section for private, noncommercial use where technological measures used by the transmitting entity, and which are incorporated into a recording device--
``(i) permit automated recording or playback based on specific programs, time periods, or channels as selected by or for the user;
``(ii) do not permit automated recording or playback based on specific sound recordings, albums, or artists;
``(iii) do not permit the separation of component segments of the copyrighted material contained in the transmission program which results in the playback of a manipulated sequence; and
``(iv) do not permit the redistribution, retransmission or other exporting of a phonorecord embodying all or part of a performance licensed under this section from the device by digital outputs or removable media, unless the destination device is part of a secure in-home network that also complies with each of the requirements prescribed in this paragraph.
``(B) Nothing in this paragraph shall prevent a consumer from engaging in non-automated manual recording and playback in a manner that is not an infringement of copyright.''.
(e) Technical and Conforming Amendments.--
(1) SECTION 114.--Section 114(f) of title 17, United States Code (as amended by subsection (b) of this section), is further amended--
(A) in paragraph (1)(B), in the first sentence, by striking ``paragraph (3)'' and inserting ``paragraph (2)''; and
(B) in paragraph (4)(C), by striking ``under paragraph (4)'' and inserting ``under paragraph (3)''.
(2) SECTION 804.--Section 804(b)(3)(C) of title 17, United States Code, is amended--
(A) in clause (i), by striking ``and 114(f)(2)(C)''; and
(B) in clause (iv), by striking ``or 114(f)(2)(C), as the case may be''.
The RIAA are a bunch of fascists. They are telling us when and where we can have our media. This bill reeks of lobbyists for the record business and it's misguided. They should stop thinking of ways to make people criminals and focus on giving us what we want.
With all of the the money that the RIAA has spent, they could have been humanitarian and created a 20 petabyte server and started a distribution center themselves. It is just the man trying to keep us all down.
As always, the best recourse we have is to simply stop buying their garbage. This will cause the media moguls to get even more desparate until finally they either give in or fold. Personally I'd love it if they folded. I imagine what would come out of the ashes would be better than the current trash.
This and all other bills of its type are going to pass. The money and presure is overwhelming from the big corps.
The only ay things will get sorted out is down the road when all this new tech really gets out there into the non-geek world like TVs are.
Then, when Bubba and all his freinds discover just how crippled all the new stuff is we might have a groundswell against it.
But I am pesimistic in that regard.
This critical piece of legislation must pass. Without such protections our new innovative business model of pay per everything might be threatened.
RIAA lawsuits for everyone!!! You know you have recorded something illegal. We don't have a clue what, but here is our warrant.
I listened to the hearing on this today (love CSPAN... you can probably hear it in the archives).
They had the CEO of Warner Music, XM radio, NAB (North American Broadcasters), and Live365. Warner, of course, said the the bill is great because it would make digital distributors pay "market rates," and he made it sound like they get away with highway robbery as the laws stand now.
Then XM, Live365, and NAB broke it down: terrestrial analog radio pays 1.7 - 3% royalties, and that's it. XM and Live365 both pay higher royalties, around double, plus extra dollars for performance something or other.. I forget the term. In addition, hardware manufacturers pay extra licensing costs to enable the recording feature.
In short, the data they presented really made the Warner CEO seem like a greedy crybaby. If PERFORM still passes after that, it's the perfect demonstration of how politicians are bought by lobby dollars.
I recommend you listen to this hearing if you're interested in the subject.
UPDATE: Direct link to the search results with the hearing.
So, how long until the RIAA manages to pass some legislation that makes it illegal to remember music without paying again? DRM for our brains? RemembersForSure?
Fucking wankers.
As one of Senator Feinstein's constituents, I'm at a bit of a loss as to how to handle this. I've written to her before regarding something along these lines, and received a form letter back with the blah de blah about balancing consumer rights with copyright holders' rights. Anyone have any ideas on how to get closer with this?
There's only supply if there is demand. So, who is actually paying for supposedly free content? I'm not. I bet 90% of the people opposed to the PERFORM Act and other legislation kick out duckets to the companies they so vehemently lambast here and on other forums.
Go ahead, fess up. Who pays for content that they used to get for free, and now gripe about it?
Yeah, Fienstein used to be quite the pro-consumer firebrand if I remember right.
She sure has sold out.
I think people don't fully understand why the record companies want this law; it's not as unreasonable as you might think.
Under copyright law, the copyright owner (here the record labels) is entitled to a bundle of exclusive rights. This includes, among others, the rights of reproduction and public performance.
The digital transmission of a song, either through a music store like iTunes or Internet radio, entails both reproduction and public performance for sure. An Internet radio stream, like any radio broadcast, is a public performance. Because of the way computers work, a streamed mp3 also has to be copied into the computer's memory, which makes it a reproduction. With stream ripping software, you can save the publicly performed song file to your hard drive for use as any other mp3. You can burn it to CD or load it onto your iPod. It is in effect the same thing as an mp3 legally purchased through an mp3 service like eMusic or Bleep.
The problem is that whereas Apple and eMusic have to pay a fully negotiated license fee to the copyright owners to provide the users of its serivce with song files the users get to keep permanently, the Internet and satellite broadcasters can obtain the right to broadcast the music for a fixed fee under the compulsory license provisions of the Copyright Act. This means that XM can allow you to acquire a song file that is functionally equivalent to a song you download from eMusic without paying the copyright holders what Apple and eMusic have to pay. To the extent XM is doing this, I can appreciate why the record labels are unhappy.
If you have a problem with DRM, direct your criticisms at the DMCA. The purpose of this amendment is not unreasonable, although some of the specifics might be (it's hard to follow exactly what the bill does).
The fact that we have compulsory licenses at all is quite generous of Congress; as a practical matter, a broadcaster providing permanent downloads shouldn't be able to avoid paying what other resellers have to pay to provide the same service'"permanent digital music downloads'"just by calling its service a broadcast.
Oh ghods.. Was I just humming an old pop-song? I think I hear the black helecopters coming now to serve me a warrant for an un-licensed performance of copyrighted music..
The really sad thing, is that I cannot even think about the 'recording industry' or the RIAA in specific, without phrases like "clueless moneygrubbing lawyer weilding facists" coming immediately to mind..
What's really amazing about that bill is how many sections of current law it's just plain obliterating.. It's not replacing them, it's just outright DELETING them..
and there's a really really easy way to tell if something is being deleted or not.. If the section grants rights to the 'consumer' of the content, it's likely to have been nuked. If it granted rights to the 'producer' or 'owner' of the work, then it's likely to be retained, or augmented.
and I ESPECIALLY like the whole concept of 'fair market value'.. Which is just an end-run around the pricefixing stuff.. No more does anyone get to negociate for a good deal.. hope.. now you ALL pay the same price.. and the companies can't be accused of 'fixing' the prices if they can claim "that's the fair market value, everyone AGREES on that.. (everyone of US selling the stuff tht is)
Now what I don't get is, in a normal market, fair market value can be defined as some sort of stastical mean/average price, based on what's stuff is being bought-sold for.. and the buy-sell prices are basically market driven, supply and demand etc. Charge too much and consumers don't buy, etc.
But if EVERYONE is prohibited from 'negociating' a deal, and forced to pay the 'fair market value' there is no longer a MARKET.. so how in hell do you determine a fair market value??
Balancing? what balancing.. more like GUTTING.. did that bill add a single consumer right? far as I can tell all it did was delete them
You should really watch the video of the hearing. They get into the legality of what is happening, and you propose that "digital distribution" is the largest issue yet personal recording is actually protected under a different law, the home recording act. In addition, like I mentioned, XM *pays money* for the rights for their listeners to record. Everything is paid for. The labels just want a higher percentage from digital mechanisms because they are popular, even though they already pay more than twice what analog radio pays, which does not include the fact that analog radio does not pay for consumers recording its audio. Yet it is well known that it happens. XM's copy controls are not significantly different than if you taped off the analog radio - you still have to wait for your show to come on and then begin recording. It's not a get-what-you-want-when-you-want system (like iTunes), as the labels are claiming.
Open your eyes.
PERFORM Act?
PERFORM VARYING Act FROM recording BY recording
UNTIL restricted
I've written her several times regarding issues of copyright law and consumer rights, and I've gotten the same form letter back that you have each time. This has gone on for several years.
One of Senator Feinstein's top contributors is the entertainment industry. Not surprising since it exists almost entirely within the state, but as such she is completely beholden to them. I've felt she's drifted far away from representing Californians as a Senator and seems to be a mouthpiece for the insignificant pet issues of an impotent Democratic party (I'm a Democrat, btw) and the entertainment industry. Strangely, she seems to relatively ignore the much larger and more influential technology industry (also residing in the state), which typically opposes these types of moves by the entertainment biz.
My hope is that a new Democratic challenger runs for her seat in the Senate. I'd love to see a battle like that, similar to Angelides vs Westley for Governor. Needless to say, I'm going to vote against Feinstein at the next opportunity. I hope the Dems sack up and put a real Democrat in her seat. Feinstein is a shell housing everything wrong with both parties. Bye bye, DiFi.
Okay, we should repeal the DMCA. Anyone disagree?
Then perhaps the other resellers are paying too much and the law should be changed to reflect that. If we keep heading in this direction the next bill will be the elimination of public libraries because they allow you to access a work without paying for it at all (which is clearly immoral and wrong and we must put a stop to it immediately).
Get 500 of her constituents to sign a letter saying that they will not vote for her unless she withdraws her support for this bill. Tough? Yes, but unless she starts to feel that she'll loose substantial votes because of this, you won't get anywhere. It wouldn't make sense for her to refuse money if it doesn't cost her enough in votes.
And if you have any amount of time or money you may even want to start a public campaign against the law in the swing districts that mentions her specifically and repeatedly as the sponsor. Even something as simple as standing in front of a busy record store with a sandwich board and a bullhorn and handing out fliers. Get all the girls you know to show up and help; random guys will talk to girls because they think they can get laid if they support whatever her cause is, which is a great way to get a lot of signatures on a petition.
One person doing that probably won't significantly affect the election, but if half the people reading this message (this means you!) go out and do something like it then people will notice. The greatest ally of corruption is apathy.
I don't disagree, although I think amending it might be a more realistic objective.
Sort of. Copyright is provided for in the Constitution as a power of Congress "[t]o promote the progress of science and useful arts, by securing for limited times to authors and inventors the exclusive right to their respective writings and discoveries." The current copyright regime is in many ways generous of Congress, but copyright itself is not. Copyright was a legal innovation the founding fathers, especially Jefferson, believed in. To abolish copyright would be a significant break with our history.
Firstly, digital broadcasters are not resellers, by definition; that is the problem this bill seeks to address. Moreover, the fact of the matter is that people continue to pay exorbitant prices for music despite the fact that the record industry has been acting as a cartel for decades. As long as we have copyright, as with any property interest, the owner should have the right to set his terms for sale and licensing.
Or do you think a software engineer who writes a shareware program should have no right to charge what the market will bear for it? Only copyright law allows him to do so.
No one it talking about diminishing the rights of libraries and traditional nonprofits to engage in public performances and other potentially infringing activities, as provided for throughout the Copyright Act. What they are talking about is not allowing digital broadcasters to provide permanent downloads under the compulsory license. It is understandable to feel that the record labels are trying to destroy our traditional right to make home recordings of radio broadcasts, but it is equally true that the technology has evolved to the point where such a digital transmission is the functional equivalent of a phonorecord. Radio stations have never had the right to sell physical copies of the music they license for broadcast to their listeners. Why should they suddenly be allowed to do so in the digital era?
The fact is that the old regime has broken down, both for consumers and copyright holders. Either we strike a balance going forward, or people will lose all financial incentive to publish creative works. Maybe you don't believe in this incentive, but I like the fact that in the this country it is possible to make a living as a writer or musician. Yes, the RIAA does act in objectionable ways, but that does not mean that copyright is itself a bad idea.
Believe me, I have thought about this a lot. To be brief, I would say two things to your arguments:
1) XM pays money for the rights to perform publicly the content it broadcasts. However, it still pays less money than Apple does to provide permanent downloads. Why exactly should XM be able to do this?
2) I understand that XM ≠iTunes, especially in terms of convenience. However, a digital audio file ripped from XM is the functional equivalent of a song off of iTunes (or really eMusic, since it is unencumbered by DRM). The compulsory license was never meant to allow this. Now that technology has made this happen, do you really think this doesn't diminish the established rights of copyright owners? Yes, the RIAA and the major labels frequently act in objectionable ways. But many artists make a lot of money from record sales. This loophole essentially diminishes their right to control who gets to distribute copies of their recordings, so I can appreciate why the labels believe it should be closed.
Of course, I'm not denying that the record labels are profit hungry multinationals leveraging their substantial lobbying clout to serve their interests. I'm just saying that their arguments are not without merit. I'll be sure to check out the hearings when I get a chance.
Did you just compare a 96kbs stream to a disk of plastic with bumps on it?
You make a good point in terms of the technology. However, this distinction is not as meaningful when it comes to copyright law. A song ripped from a 96kbs stream is the legal equivalent of the full-bitrate rip from a CD. Perhaps the law should be changed in this regard. It is an interesting point.
Indeed, maybe your point is implicated in the "fair market value" language of the bill, so that a 96kbs rip is worth less than a 128kbs rip, etc.
That said, what matters most under the current law is the nature of the reproduction. With a song ripped from Internet radio, as with an mp3 ripped from a CD, the consumer has the ability to keep the song forever, listen to it on her iPod, etc. In both instances the exclusive legal right of the copyright holder to license reproductions of her work are equally implicated.
Couple little problems with the RIAA's argument. I should know as I have in the past copied music off XM. First, its exactly the same as copying off a radio. It has to be analog to do so. I have to hook a headphone plug into the sound in port of my sound card to record. While the signal may get to me digitally, it is degraded and far less than CD quality. I think its around 92 kb/s bit rate. Maybe lower. The XM radios that do record, only record to internal memory. Its not like you can get a digital copy of it from the device. And like the report said, XM is already paying twice what radio is. THis is all RIAA bullshit at its finest.
Ripping a song from XM is the same as recording from FM. And the court has already stated that it was fair use. Part of that tax on all DAT tapes goes to pay for this freedom. They want to take back that right, you think they are gonna give back that tax?
Yeah, donate $10K. That'd get you in her door. Get your SO to give another 10K and you might get heard. Don't forget to get your kids, friends and other family members to donate also!
How does this differ than placing an fm radio->audio in jack on your computer and converting it? That is functionally equivalent to an mp3 from eMusic isn't. It may not be the same quality, but neither apparently is the 96kb/s stream from XM. Last I checked, the FM radio broadcasters don't pay anything for this right. Seems like an untapped revenue stream for the good ol' RIAA to me, not to mention most of those companies have big pockets: just think of all those Walkmans made by Sony and those stations owned by Viacom!
Okay, but with Internet radio, VLC can rip an audio stream to disk. Or am I misunderstanding how the technology works? Obviously this is not to say that the Internet radio stations intend to have the songs they broadcast ripped, so the RIAA argument that they be penalized when this happens is a bit weak. However, if the Internet radio stations in fact do not intend for listeners to make permanent recordings of their songs, then they should have no problem with encrypting their audio streams. In that case, you would still be able to make an analog recording of the stream, as provided by in the AHRA.
The AHRA actually requires a form of DRM for digital recordings (i.e., DAT recordings), a serial copy management system (SCMS) that prevents copying second generation digital recordings. So I'm not sure you want to go there.
Otherwise you're stuck with analog, unless you're space-shifting your CD's, which the Ninth Circuit said was fair use in the Rio case. But if you're not space-shifting a licensed reproduction of the copyrighted recording, then arguably this case doesn't apply. Indeed, it's quite possible that any such digital home audio recording must be done with a SCMS-aware device under the AHRA. This is a fairly obscure corner of the law these day, given how unsuccessful DAT proved to be (perhaps b/c of the tax you mention).
From my perspective, the difference is that in the era of iTunes, a digital audio file that can be stored to disk is what people often buy in lieu of a physical phonorecord. So when an Internet broadcaster effectively provides a digital file, this is like providing a permanent sound file to its users.
Perhaps this is, as my copyright professor would say, slicing the bologna pretty thin. But that's the point. Without physical media, what difference remains between an instant audio stream over the Internet and an mp3 on your hard drive? Copyright law can be painfully convoluted, especially when it comes to sound recordings. New technology requires substantial revisions to this mess. While it would be nice to wish away the RIAA and MPAA, onerous lawsuits, and the ridiculous retroactive copyright term extensions, I suspect most of us do believe that artists and authors should have some copyright protections of their work.
In what way is this practice significantly different than the practice of copying a song from FM radio to a cassette tape? Both allow you to make permanent copies of a piece of music of significantly lower quality than if you bought it on vinyl/CD. Storage media is magnetic tape or magnetic disk. Multiple copies can be made from the original recording. These copies can even be to a different type of storage media than the original recording.
I'm not trying to be obtuse, but I really don't see the difference.
Twenty-five years ago we were recording from FM to cassette. We'd record vinyl to cassette so we could listen to albums in our cars, on our Walkmans, etc. These are not appreciably different than copying a low bitrate XM song to your hard drive or ripping a CD to MP3. We are already paying taxes on media purchases to cover this kind of use. What has so significantly changed that it requires a new law to circumvent those already in place?
I just GOT it!! THe difference is this: The big media companies own all the radio stations. So taxing them isnt really of any use. But they don't own XM or the internet broadcasters, so they are a prime target to squeeze some money from. The technology hasn't changed. Just someone else (how dare they) was making money off of music besides the RIAA.
I'm really starting to think I should campaign someday and start a new political party. Like I said in another thread, I'll call it the Smart Person's party. This way when people ask if you're a Dem or Rep, you can say neither, you're a Smart Person.
Personally speaking, I'm starting to think that music isn't even really a useful art, and therefore shoudn't be covered under copyright laws to begin with. More importantly we need to revolutionize copyright law and put in a provision that copyright shall not cover personal usage. What that would mean is that the only time copyright could be violated is if its used for commercial puposes. And more importantly you CANNOT patent an idea--bye, bye software patents. The software could be copyrighted, but if some Joe is smart enough to figure out what you've done and compete with you, well, welcome to a free market and socieity. Matter of fact, when I become president I'll have Lawrence Lessig and Bruce Perens sit down and write our new copyright laws. Anyone that attempts to propose ANY legislation, regarless of what it pertains to, that would ever curtail the rights of citizens [in favor of corporations] would immediately be charged as a felon. No more catoring to corporate interests. As a matter of fact, if a corporation is found guilty of a crime, the executives would be personally held responsible for the crimes as if they'd done them themselves. For example, no more slapping RIAA members with fines for price-fixing. The execs themselves would be serving time for defrauding consumers. I could go one, but I'm really getting fired up about this and I need to go to bed soon.
I'm not an XM subscriber so I'm a little shaky on this. But according to the CEO of the company at the Senate hearing, here is why XM != a download service:
1.) You cannot choose what to download through a filter, or searching, or whatever. You can only record based on a station and time, just like analog radio.
2.) What you record is locked to your player and to your XM subscription. If you lose either one, you cannot listen to it. This is not like download services such as iTunes, which have rules for transferring music, and it also satisfies your rules about locking the content down.
3.) The only way to bypass #2 is through the analog hole. The court has already upheld fair use of recording analog radio.
Watch/listen to the hearing and think about it some more. There is a lot of food for thought in there, such as how the RIAA demanding this and the introduction of this bill coincide with the rates XM negotiated with the RIAA expiring and the contract up for renewal. Follow the dollars.
Nobody disagrees with you that protection of IP is a good thing and that copyrights can be beneficial. This is just a case where corporate greed and our corrupt political system are being used to hurt consumers.
Copyright isn't a property right. The point of it is to encourage people to create works, not to make sure that Disney never loses control of Mickey Mouse and all the big names in Hollywood make at least seven figures every time they make a movie. Compulsory licensing is as valid a means toward that end as direct sale. If the problem is that people are recording works over the air after the licensing fee has been paid and this doesn't provide creators with a sufficient incentive then the solution isn't to prevent recording, it's to raise the incentive. However, it needs to be balanced. It is no use to have compulsory licensing when the fees are so high that no one will pay them. And since Hollywood makes billions of dollars, it appears the existing incentives are more than sufficient.
I also have to ask, why are they doing this now? A new technology has been created that might impact their business model. They, today as ever, try to have it banned. Why not let it develop for a little while and collect some information on it? See if the effect under existing laws is really so great as to necessitate new legislation. Find out if, like the VCR, the new technology may have benefits to the industry that outweigh the costs. Don't legislate it out of existance before you even find out what it does.
I don't argue that copyright law in general is a bad thing, merely that the manifestations of it that we see today are excessive and harmful. Software is an interesting example: If an author wrote a book a hundred years ago, the book may still be useful when it falls into the public domain even under our exceptionally misguided copyright law. By comparison, what piece of software do you imagine will still be relevent in fifteen years, much less well over a hundred? Will anyone even be able to read the language it's written in by that point, much less have any hardware capable of natively running it? A programmer should certainly be able to make money by writing programs, but there has to be some balance here, and laws like this do nothing but create more imbalance.
The danger here is that people will use this to get the music they want instead of buying it, and this is exactly why I worry about libraries. Right now you can go to a library somewhere in the country and gain access to just about any copyrighted work in existence, but it's very inefficient. You have to drive to the library, look up the work in the catalog, if they don't have it in stock then you either have to get it on interlibrary loan or drive to the nearest library that has it. Then you have to come back again when you're done to return it. Libraries can -- and should -- be more efficient with new technology. If a library has a digital music collection and no one else is currently listening to a particular song then you should be able to listen to it remotely. They paid for it and no one else is using it. But include some centralization and you've got the potential for a pretty awesome digital library that hardly ever runs out of stock on anything. And at that point, why buy it when you can borrow it?
So no, it wouldn't at all surprise me to find Hollywood attacking libraries in the not too distant future.
Quite right, but balance is the key. Every piece of copyright-related legislation passed in the last decade has been nothing but bad for consumers and good for industry, and this would be no exception. There needs to be balance, not capitulation.
It isn't just a matter of encryption. You can encrypt the data all you like, but if the user is to listen to it they have to decrypt it. If the user controls the software then he can do whatever he likes with the unencrypted stream. In other words, effective DRM requires that the user can't control the software running on his property, which is a very serious thing to be enshrining in legislation.


text:
Landscaping the new Gardner wing
Landscaping the new Gardner wing
Inside the courtyard of the Gardner Musuem's new wing, trees and plantings adorn the grounds.
The new wing includes a greenhouse along Evans Way.
The new working greenhouse is deliberately visible to the public.
The new sugar maples have vibrant fall foliage, chosen to compliment the blue-green patina of the new wing's exterior copper panels.
Near the new wing's glass entrance lobby, tight groves of juvenile Chinese lacebark elm trees are planted in sunken containers and restrained in formal rows by traditional "guying" using bamboo and twine.
The trees can be so close together because the glass lobby is dedicated to temporary plantings.
Most of the older planting in the back of the palace are gone, replaced by a variety of species.
Trees were transporter into the courtyard of the new wing on Dec. 14, 2011.
The glass corridor between the palazzo and the new wing is lined with mature American hornbeams and evergreen Chinese lacebark pines with mottled bark to provide winter interest.
By shielding the corridor from sunlight, the trees planted around the glass corridor help prepare visitors' eyes for the lower light levels inside the historic building.

subset: commoncrawl


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Southern Slow Cooker recipe helps satisfy longtime hankering for Frito Pie
I'm ambivalent about slow cookers.
Partly, it's due to the fact that I'm not a morning person and would rather hit snooze an extra time or two than proactively prepare dinner. Mostly, I've come to discover, I want the immediate satisfaction of eating something I have just prepared rather than wait another eight hours. Yes, I'm sometimes impatient.
I recognize slow cookers are a lifesaver for busy families and I see the appeal. As a singl mulberry outlet e person, though, I have the luxury of coming home from a long day and eating a bowl of cereal for dinner and being fine about it. No one is depending on me for a nourishing mulberry outlet and nutritious meal though I do try to make those more often than not. cuisine. Give me biscuits and gravy, fried chicken and waffles, slow cooked pork with slaw, ham cooked in Coke. And yes, serve me some Frito Pie chili con carne served on top of salty corn chips and topped with cheese which I have never eaten but been obsessed with for years.
I was salivating and bookmarking as I made my w mulberry outlet ay through The Southern Slow Cooker from Kendra Bailey Morris (Ten Speed Press).
This is comfort food with plenty of southern favourites, including grits, black eyed peas and variations on barbecue, not to mention a full chapter on dessert, and suitably enticing photographs.
Yes, I could have chosen any of those, or the Pork Loin Roast with Vanilla Fig Jam, West Virginia Slaw Dogs or Chicken with Maple Cider White BBQ Sauce, but I kept flipping back to the Frito Pie. After years of thinking about it, it was time to face the obsession.
(I waffled for awhile, though, as this is by no means the healthiest nor most interesting choice. However, sometimes food just needs to be fun. Serve with a green salad and call it a day.)
Like any other Chili con Carne, it starts off with beef and spices, beans and tomatoes. Any other time, I'd probably throw in the remaining 1/2 cup (125 mL) or so of tomato sauce and diced tomatoes to avoid holding on to them and figuring out how else to use them. But the point of this column is to stick to the recipe for the first go round.
All told, it didn't take all that long to throw stuff together and get it into the slow cooker. I did want to start eating it immediately, though. Impatiently, I trundled off to work and waited to see how it would all turn out.
Arriving home to the warming smell of chili filling my apartment was really nice. Point, slow cooker.
Getting dinner from the slow cooker to my plate in fewer than 10 minutes due to additional chopping and cheese shredding also had my approval.
The Frito Pie was tasty, though, yes, definitely have a salad on the side for this meat carbohydrate bomb. And maybe next time I'd ease up on the amount of salty corn chips.
Still, it was what I had expected it to be: meaty chili with some spice, though not a ton of heat, with the crunch from the chips and tang of sour cream.
That I'd already done most of the dishes that morning was a great bonus.
I am less ambivalent about slow cookers now. recipes that use canned goods is they don't often match the sizes available here in Canada. Such is the case with this one. You will be left with some tomato sauce and diced tomatoes at the end, but should be fine for the beans. Also, I couldn't find diced tomatoes with green chilies, which I'm sure is more readily available stateside. However, in the Mexican section of the grocery store, I found cans of cooked, diced green chilies, so I threw in about 2 tablespoons of that with the diced tomatoes. That's also where I found pickled jalapeno slices. I used Old Dutch corn chips.
1 tsp (5 mL) bacon grease or vegetable oil2 lb (1 kg) extra lean ground beef4 cloves garlic, minced3 tbsp (45 mL) chili powder1 1 /2 tsp (7 mL) cumin1 tsp (5 mL) dried oregano, preferably Mexican3/4 tsp (3 mL) salt1/2 tsp (2 mL) sugar mulberry outlet 1/4 tsp (1 mL) black pepper1/4 tsp (1 mL) cayenne pepper, optional2 8 oz cans (500 mL) tomato sauce1 10 oz can (300 mL) diced tomatoes with green chilies with its juice2 14 oz cans (796 mL) kidney beans, rinsed and drainedFor serving
8 oz (125 g) sharp cheddar cheese, grated1/2 cup (125 mL) minced sweet onionSliced pickled jalapenosSour CreamLarge (14 oz/400 g) bag Fritos brand corn chips or 8 (1 or 2 oz) individual serving size bagsSpray the inside of the slow cooker with cooking spray.
Heat a large skillet or cast iron pan on the stovetop over medium high heat and add the bacon grease. Crumble in the ground beef and cook until the meat is no longer pink, about 5 minutes. add the garlic and cook for another minute. Mix in the chili powder, cumin, oregano, salt, sugar, black pepper and cayenne. Cook for 1 more minute.
Pour the beef mixture into the slow cooker and add the tomato sauce, tomatoes and chilies and kidney beans. Stir well. Cover and cook on low for at least 8 hours and up to 9 hours.
To serve, spread the chips in a 9 by 13 inch (23 by 33 cm) casserole dish or divide among eight smaller bowls. Pour in the chili, then top with the cheddar, sweet onion, jalapenos and sour cream and serve. Alternatively, cut open eight individual serving size bags of chips, divide the chili and toppings evenly among the bags and eat straight from the bags with a fork.
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Best of food and drink this week: Mother's Day editionA round up of some of our favourite recipes and food related features this week including an ingredient spotlight on coconut, baking from scratch simplified.


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Crochet Silvery Thread Front Tie Shrug Bolero Aqua
Product Description
Photos (Click Photos to Enlarge)
Color : Aqua Green
Product Features* A beautiful and chic cardi / bolero / shrug top. Full front open with front tie closures. Woven with some silvery threads, giving a subltly glittering / shinning effect, adding extra charm to the item. Curved hem. Girlie and lovely.
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* Other Color Options : Yes, click the photos below to view in our store:
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Important : We respect copyright and truly hate to sell any copy brand or fake products.
|approx. 16" (across, one side)
|Armpit to Armpit
|approx. 17.5" (across, one side)
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|approx. 19"
* NOTE : The above measurements are to be compared with measurements of your own clothing (pick one from your wardrobe that you think fits you the best) rather than your own body measurements.
CM Style Fashion New Releases
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In our last installment, we covered the chassis and suspension. Now we will address the engine and its accessories, the drivetrain, and the braking systems.
Engine: Test Fit, Accessories, ECM, Dry Sump, Headers, Detailing, And Installation
Since the theme for our car is the combination of the first Z06 model offered with the latest Z06 engine, our plan from the beginning has been to use the LS7 engine. We have followed the development and availability of the GMPP engine and placed an order with Dobles Chevrolet in Manchester, New Hampshire, for one as soon as it was available. After some delay from the original introduction target date of August 2005, the engine was delivered in October 2005.
The engine comes assembled, along with the throttle body, injectors, flywheel, clutch, pressure plate, starter, exhaust manifolds, oil filter, spark plugs, and water pump. Several key components are not included, such as the dry sump tank, oil lines, ECM, wiring harness, accessory brackets, and alternator.
Test Fit
Our first step after the arrival of the engine was a test fit to see what issues we might face for the chassis, motor mounts, and engine accessories. as you might expect, we found several issues. The first was the pilot bearing needed to be changed. Through 2004, a needle roller clutch pilot bearing (No. 14061685) was used in the Y-Car. In 2005, a ball bearing design (No. 12557583), which is used on trucks, was released on passenger cars and is the one used on the LS7. This bearing is positioned approximately 10 mm further aft, and it doesn't allow the transmission shaft to seat all the way. Fortunately, the crankshaft still has a provision for the earlier-type bearing, which works fine. It may take a little doing to get the bearing out, so be sure to use a bearing puller designed for that purpose.
We also found the chassis cross-member under the engine needed to be modified to clear the dry sump pan. The cross-member was cut, and a new piece was welded in place. The last major change needed was to move the rack-and-pinion mount by a half-inch as the power-steering pump pulley would interfere with the intermediate steering shaft.
The good news was the engine fit well otherwise, as did the motor mounts and engine accessory brackets. We also tested headers for clearance of the chassis using the LS1-style, street-rod-style units since there were no sources for LS7 specific headers at the time.
Engine Accessories
Accessory Drive ::: Our accessories had to serve three purposes: function, fit, and appearance. There are several sources for serpentine-belt systems and brackets today. We chose Street & Performance (S&P) for the alternator, A/C compressor, power steering, and idler brackets. We also used the engine mount adapters from S&P for the motor mounts, which allow the use of small-block mounts. We used the mounts from Energy Suspension to match the other urethane bushings we've used.
Engine Systems ::: The LS7 is a bit more involved than other engines when it comes to setup, particularly because of the 58x reluctor and the dry-sump system.
Computer And Harness
For the engine management, we used the reprogrammed ECM and engine harness from Speartech, www.speartech.com. It's well made and the customer support is top notch. John Spears made it to function with the fly-by-wire throttle (we are using a C6 throttle pedal), which eliminates the need for a hard-wire cable.
Dry-Sump System
Since we wanted to maintain as much recognition as possible with the new Z06, we chose to use the OEM dry-sump reservoir. It also has provisions for the dipstick and tank vent lines to the engine. However, the stock tank is too tall to fit within the C2 engine compartment, and so we contacted Line Precision who makes the OEM tank. working with them, we were able to retain the original upper and lower cast portions, along with a new center section that was shorter and wider in order to maintain the original 10.5-quart capacity of the stock tank.
In researching the details of the dry-sump setup, we found quite a few details on the stock system. There are two fittings on top of the tank. The rear fitting on the reservoir runs to the "dirty-air" connection on the front passenger side of the engine and to the PCV. The forward fitting runs to the clean-air fitting ahead of the throttle body. The tank contains a volume of 10.5 quarts, which is the minimum required to run an 8-quart service fill with the LS7 engine. When 8 quarts are added to the tank, 1.2 quarts fill the lines and cored passage in the oil pan, leaving 6.8 quarts of oil in the tank. The remaining volume of the tank is intended to provide for oil conditioning, de-aeration, and a fresh-air provision to prevent sludging and PCV separation. If you use an aftermarket tank, it's important that you create these provisions for crankcase pressure equalization and PCV system flow. The LS7 uses two oil pumps: the scavenge pump pumps 25-percent more volume into the tank than the supply pump draws out. This extra volume is air, which will pressurize the tank if you don't have a way to equalize the pressure with the crankcase. It will also draw down the pressure on the crankcase to unacceptable levels, so there should be a line connecting the tank to the crankcase for pressure equalization. It's also recommended that you provide fresh air to the tank and draw foul air off the crankcase through the PCV system.
The oil lines from the engine to the oil reservoir are unique fittings. If you can run the OEM lines, these will work fine. If not, or if you are using an aftermarket reservoir, such as that from Peterson Systems, you can get adaptors that convert the lines to an AN12 fitting. There are several sources for these fittings, such as Street & Performance.
To mount the tank, two lower brackets were made that fit into tabs welded to the frame and one upper bracket that mounts to the firewall.
To gain space for the oil reservoir, which was placed in the rear of the passenger side of the engine compartment, the battery location had to be moved. In some cars, the battery could be placed in the trunk area (if we had one!) or the rear of the passenger compartment. However, we didn't like the idea of a battery in that location or running the cables that far from the engine. We decided to fabricate a new battery mount on the driver-side framerails just behind the inner fender panel. For access to the battery, a panel originally used on A/C-equipped, big-block midyears was used in the rear of the inner fender panel.
Exhaust Headers
You may be able to use the stock exhaust manifolds. They do have a unique outlet though, which makes making the rest of the system more difficult. You may also run into clearance issues with your frame or engine mounts. Street & Performance made a set of headers for us with larger primary tubes, a flange to match the LS7 port shape and with the necessary clearance. Stainless collectors were used, which will be mated to the rest of the exhaust system that we will cover in a future installment.
Engine Detailing
Since the car will be used for shows, we wanted to do something special in detailing the engine. It was sent to Street & Performance where Adam Gunn performed his work. The heads, throttle body, and water pump were polished. To help retain their finish, they were coated with Zoops Seal. The front engine cover, oil pan, starter, coil mounts, and valve covers were chromed. Even though the block is aluminum and could be polished, we wanted to have a contrast to the polished and chromed pieces, so the block was smoothed and painted in our custom red paint. All the mounting bolts were converted to 12-point polished ARP bolts.
There will be several other custom pieces made for the final detailing; these will be shown in a future installment. This will include the cold-air intake system, the custom cooling-system radiator, and expansion tank made by the Pro-Fab shop at Be Cool. Mark Walkowiak from Mark VII Machine and Fred Militello from Be Cool have worked from our diagrams to make these units, and their work is outstanding.
Engine Installation
In our first installment, we mentioned there would be some equipment you may not have that would be helpful in the project, such as an engine hoist and leveler. We also found a hydraulic table came in handy when it was time to line up the transmission. some extra hands and eyes are always helpful when you are lining up the motor and transmission mounts. Luckily for us, Frenchy Bernier and Ray Zisa from Corvette Center made a house call.
Gas Tank
This is probably a good place to mention the fuel tank . The stainless tank is from Rock Valley and has a built-in fuel pump. Note that this tank has the main and return lines on the top instead of the bottom as is usual since we wanted to keep the bottom of the tank free of fuel lines (photo 09). The tank has been polished (we've made a note that this is another one of those jobs we never intend to do again). As we write this segment, we are looking for the best location for the fuel filter (C5-style with a built-in regulator), and then we will route and mount the main and return lines with a combination of braided-stainless and hard-stainless lines.
A Tremec T-56 transmission from Keisler Engineering was chosen. We've had good luck with that unit in our '62, and like the smooth shifting and gearing. To improve its appearance, we decided to smooth and polish the transmission and bellhousing. That involved approximately seventy-five hours of polishing and is not something we're likely to do again! The skip shift solenoid was eliminated as was the backup light switch. The reverse lock-out unit was also polished, rear cover plates fabricated, and the brackets were painted. All the bolts were converted to 12-point ARP polished stainless. To help retain the finish, the entire unit was coated in POR 15 Glisten, which should stand up to the heat. The urethane transmission mount is from Energy Suspension.
Flywheel/ Clutch/Pressure Plate & Hydraulic Unit
Since the engine comes with the flywheel, clutch, and pressure plate, we saw no reason to go with aftermarket units. To activate the clutch, a hydraulic unit used in the F-body cars was used, along with a custom bracket mount from Alf Ebberoth of Performance Automotive.
A Dana 44 differential was chosen for its strength, along with a gear ratio of 3:90 that works well with the double overdrive of the T-56 transmission. The unit was smoothed, and then painted in our custom red color for contrast to the chromed differential carrier. A custom torque arm from SRIII Motorsports was used. The welds were smoothed, and the unit was chromed. Urethane bushings from Energy Suspension were used for both the differential carrier and torque arm. They were mounted using six-point polished stainless bolts from Totally Stainless.
Drive & Halfshafts
Driveshaft ::: A custom driveshaft from Denny's Driveshaft was used. The welds and yokes were smoothed, and the unit was chromed. Spicer universals were used. For further detailing, the universal joint centers were powdercoated in red, the bearings were polished, and the retainer rings were chromed. That made assembly an interesting exercise!
Halfshafts ::: The halfshafts were shortened. You may recall from the last installment that we wanted to retain the stock body profile, but still use wider wheels and tires; this required narrowing the halfshafts, differential carrier, rear toe-rods, and camber rods. We wanted to smooth the welds and finally thought of a way to do that job more easily. We don't have a metal lathe, but do have a wood lathe. We decided to make wooden dowels, which were turned to the diameter of the yoke, to mount the shafts in the lathe. Then, turning at a slow speed, a series of files and grits of sandpaper was used to smooth the shafts (photo 13-shaft mounted in the lathe; photo 14-before and after turning perspective). The shafts were then chromed, and the universal joints treated to the same process of finish as the driveshaft.
In the last installment, we mentioned keeping the suspension parts loose at that point. When you begin to install the halfshafts, you won't have to loosen as many bolts as you have to move the hubs outwards to gain enough space to get the halfshaft universals into the differential and spindle yokes. we found that temporarily removing the rear toe-rod at the hub and the camber rod at the differential bracket can help get enough free area to get the halfshafts in place.
Brakes: Calipers, Rotors, & Boost
Calipers ::: As they say, "once you have plenty of power, you will also need plenty of stopping force." There are many choices for brakes these days, ranging from the stock Corvette units to Wilwood and Baer aftermarket components. Since we are trying to use as many current Corvette parts as possible, we decided to use the stock C5 Z06 calipers up front. Since we are using the C5 front-suspension components, these bolt right up without the need for adapters. We considered using the C6 Z06 calipers, however, we were concerned they might not work as well in combination with the C4 rears. We were also concerned there was not enough clearance with the 17-inch front wheels we are using. In the rear, we used the calipers from the '96 C4 Corvette. One reason for using these calipers is they have an integral parking brake. Braided-stainless lines to the calipers were used, along with stainless hard lines. These were polished and coated with Zoops Seal.
To add more detail to the calipers, the "fins" were smoothed and polished; the calipers were painted in red, and then clearcoated. The brake brackets were smoothed and chromed, as well as the emergency-brake parts. We also had polished stainless plates made to cover the brake pads for a final touch.
Rotors ::: We like the look of the two-piece Baer EradiSpeed rotors, which are slotted and drilled. To add more detail, the rotor hats were chromed, and stainless bolts were used. Also, the outside edge and insides of the cooling vanes were powdercoated in red by Anvil Power Stryke powdercoatings, a division of Har-Conn Chrome in Newington, Connecticut, for appearance and to keep any rust from forming.
Boost System ::: We've used vacuum-boost systems in the past, but wanted to try something different this time. We had heard of a new system from ABS Power Brake, www.abspowerbrake.com. It's an electric/hydraulic unit, and the power unit mounts remotely on the frame, which allows more space on the firewall. The package comes with a billet master reservoir, polished booster pump, accumulator, and a hydraulic stop-light switch. The accumulator stores power should the unit fail.
For mounting it to the frame, a plate was made and welded in place low on the driver side. Lines were run to the front and rear brakes, and the pressure line runs from the pump to the master unit. The electrical connections are straight forward: battery, ignition, and ground wires.
Parking Brake
Since we are trying to retain as much of the original appearance as possible, we chose to keep the original, pull-style, parking-brake lever. To do this, we had to adapt it to the '96 C4 rear-brake calipers, which have an integral parking-brake mechanism in the caliper. We used the underdash parking-brake housing from a '64 Vette because we like the way it mounts, and its pulley mechanism allows the cable to run closer to the firewall. A stock parking-brake arm mount was welded to the new frame in the same location as the stock unit. A stainless-braided cable from Lokar was used to make the connection from the parking-brake handle to the arm on the chassis. From that point, Lokar braided-stainless cables were used to run to the calipers.
So Here We Are
Photo 20 will give you a good idea of where we are at this point in the project. We couldn't resist mounting the wheels from Mid America Motorworks on the chassis for a look. There are also many other things going on simultaneously, such as the bodywork at Corvette Center, interior work at Interior Motives, machine work at Mark's Machine, exhaust work at Patten Cycles, and the daily UPS delivery of countless parts.
Next Time
In upcoming installments, we will get into more detail on several systems (exhaust, cooling, heating/air, and so on), as well as the body and interior. Since we are writing the articles as the car is being built, there will be a few month's adjournment while we complete more work on the car. Building a car is similar to building a house-the frame seems to go up quickly, but it's the interior plumbing, electrical, fixtures, and so on that take the majority of the time.
We hope what you have seen so far has been of interest and help if you are considering a similar project. In the meantime, you can find additional photos and links to sources on our web site at www.corvetteforum.net/c5/richs7/.


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GAFFNEY, S.C.—The Limestone College men's basketball team picked up a Conference Carolinas win against Coker on Tuesday night at the Timken Center, 62-59. The Saints improve to 6-13 in the conference (9-16 overall) as the Cobras fall at 7-13 in the league (9-18) overall.
There were 12 lead changes and six ties in a tight second half. Limestone had a five-point lead with 4:31 left to play (54-49), but a three-pointer by Josh Poston (Myrtle Beach, S.C.) put Coker within two. Lukas Varga (Pawleys Island, S.C.) hit another three-pointer to give the Cobras a brief 57-56 advantage. The Saints' Andrae Franklin (Fort Pierce, Fla.) made a layup with 1:20 remaining for a 58-57 lead, but Mason Ambler (Atlanta, Ga.) hit a field goal to put Coker ahead again. Andre Coleman's (Clermont, Fla.) two-point basket with 19 seconds left lifted the Saints to a 60-59 advantage, and two free-throws by Marques Williams (Rochester, N.Y.) sank two free-throws to secure the 63-59 victory.
After five lead changes in the first half, Coker had a 32-29 edge going into the second period.
Williams led Limestone with 16 points. He also dished out four assists. Coleman and Franklin posted six and eight boards, respectively. Both players scored 11 points and Franklin had two blocks. Bobby Grier (Powder Springs, Ga.) had a game-high five assists.
Coker saw three players score in double figures. Josh Poston (Myrtle Beach, S.C.) scored 12, as Ambler and J.C. Hafner (Jefferson, Md.) each had 10. Ambler led the Cobras with eight rebounds and he had two blocks.
Limestone was 45.7% from the field compared to Coker's 39.3 field-goal percentage. The Saints edged the Cobras in rebounds, 33-27.
Limestone hosts Pfeiffer University on Friday at 7:30 p.m. at the Timken Center. Friday will also be Senior Night for the Saints as the team recognizes Andrae Franklin, Kenny White, Marques Williams, Jamison Clark, and John Prioleau.
Tonight's game was the final regular season contest for Coker. The Cobras will begin postseason play in the Conference Carolinas tournament on Monday, March 3.


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Brand Names: Noroxin
Generic Name: norfloxacin (Pronunciation: nor FLOX a sin)
- What is norfloxacin (Noroxin)?
- What are the possible side effects of norfloxacin (Noroxin)?
- What is the most important information I should know about norfloxacin (Noroxin)?
- What should I discuss with my healthcare provider before taking norfloxacin (Noroxin)?
- How should I take norfloxacin (Noroxin)?
- What happens if I miss a dose (Noroxin)?
- What happens if I overdose (Noroxin)?
- What should I avoid while taking norfloxacin (Noroxin)?
- What other drugs will affect norfloxacin (Noroxin)?
- Where can I get more information?
What is norfloxacin (Noroxin)?
Norfloxacin is in a group of antibiotics called fluoroquinolones (flor-o-KWIN-o-lones). Norfloxacin fights bacteria in the body.
Norfloxacin is used to treat bacterial infections of the prostate and urinary tract. Norfloxacin also treats gonorrhea.
Norfloxacin may also be used for purposes not listed in this medication guide.
Noroxin 400 mg
elliptical, pink, imprinted with NOROXIN, MSD 705
What are the possible side effects of norfloxacin (Noroxin)?
Get emergency medical help if you have any of these signs of an allergic reaction: hives; difficult breathing; swelling of your face, lips, tongue, or throat.
Stop taking norfloxacin and call your doctor at once if you have sudden pain, snapping or popping sound, bruising, swelling, tenderness, stiffness, or loss of movement in any of your joints. Rest the joint until you receive medical care or instructions.
Call your doctor at once if you have any of these serious side effects:
- diarrhea that is watery or bloody;
- headache with chest pain and severe dizziness, fainting, fast or pounding heartbeats;
- irregular heart rhythm, new or worsening cough, trouble breathing;
- hallucinations, tremors, feeling restless or anxious, unusual thoughts or behavior, seizure (convulsions);
- ringing in your ears, vision problems, pain behind your eyes;
- confusion, nausea and vomiting, swelling, rapid weight gain, urinating less than usual or not at all;
- numbness, burning, pain, or tingly feeling in your hands or feet;
- pain in your upper stomach, loss of appetite, dark urine, clay-colored stools, jaundice (yellowing of the skin or eyes);
- pale skin, easy bruising or bleeding, muscle weakness, fever, swollen glands, general ill feeling;
- the first sign of any skin rash, no matter how mild; or
- severe skin reaction -- fever, sore throat, swelling in your face or tongue, burning in your eyes, skin pain, followed by a red or purple skin rash that spreads (especially in the face or upper body) and causes blistering and peeling.
Less serious side effects may include:
- mild nausea or diarrhea, stomach cramps, heartburn;
- rectal pain;
- headache, dizziness;
- sweating;
- back pain; or
- vaginal itching or discharge.
This is not a complete list of side effects and others may occur. Call your doctor for medical advice about side effects. You may report side effects to FDA at 1-800-FDA-1088.
What is the most important information I should know about norfloxacin (Noroxin)?
You should not use norfloxacin if you have a history of myasthenia gravis, or if you are allergic to norfloxacin or similar antibiotics such as ciprofloxacin (Cipro), gemifloxacin (Factive), levofloxacin (Levaquin), moxifloxacin (Avelox), ofloxacin (Floxin), and others.
You should not use this medication if you have ever had swelling or tearing of a tendon caused by taking norfloxacin or similar antibiotics.
Before taking norfloxacin, tell your doctor if you have a heart rhythm disorder, kidney or liver disease, muscle weakness or trouble breathing, joint problems, a condition called pseudotumor cerebri, a history of seizures, a history of head injury or brain tumor, low levels of potassium in your blood (hypokalemia), a personal or family history of Long QT syndrome, or if you have ever had an allergic reaction to an antibiotic.
Avoid taking antacids, vitamin or mineral supplements, sucralfate (Carafate), or didanosine (Videx) powder or chewable tablets within 2 hours before or after you take norfloxacin.
Norfloxacin may cause swelling or tearing of a tendon (the fiber that connects bones to muscles in the body), especially in the Achilles' tendon of the heel. These effects may be more likely to occur if you are over 60, if you take steroid medication, or if you have had a kidney, heart, or lung transplant. Stop taking norfloxacin and call your doctor at once if you have sudden pain, swelling, tenderness, stiffness, or movement problems in any of your joints. Rest the joint until you receive medical care or instructions.
What should I discuss with my healthcare provider before taking norfloxacin (Noroxin)?
You should not use norfloxacin if:
- you have a history of myasthenia gravis;
- you have ever had swelling or tearing of a tendon caused by taking norfloxacin or similar antibiotics; or
- you are allergic to norfloxacin or similar medications such as ciprofloxacin (Cipro), gemifloxacin (Factive), levofloxacin (Levaquin), moxifloxacin (Avelox), ofloxacin (Floxin), and others.
Norfloxacin may cause swelling or tearing of a tendon (the fiber that connects bones to muscles in the body), especially in the Achilles' tendon of the heel. These effects may be more likely to occur if you are over 60, if you take steroid medication, or if you have had a kidney, heart, or lung transplant.
To make sure you can safely take norfloxacin, tell your doctor if you have any of these other conditions:
- a history of head injury or brain tumor;
- a condition called pseudotumor cerebri (high pressure inside the skull that may cause headaches, vision loss, or other symptoms);
- heart rhythm disorder, especially if you take quinidine (Quin-G), disopyramide (Norpace), bretylium (Bretylol), procainamide (Pronestyl, Procan SR), amiodarone (Cordarone, Pacerone), or sotalol (Betapace);
- a history of allergic reaction to an antibiotic;
- muscle weakness or trouble breathing;
- joint problems;
- kidney or liver disease;
- epilepsy or a history of seizures;
- low levels of potassium in your blood (hypokalemia); or
- a personal or family history of Long QT syndrome.
FDA pregnancy category C. It is not known whether norfloxacin will harm an unborn baby. Tell your doctor if you are pregnant or plan to become pregnant while using this medication.
It is not known whether norfloxacin passes into breast milk or if it could harm a nursing baby. You should not breast-feed while you are using norfloxacin.
Do not share this medication with another person (especially a child), even if they have the same symptoms you do.
How should I take norfloxacin (Noroxin)?
Take exactly as prescribed by your doctor. Do not take in larger or smaller amounts or for longer than recommended. Follow the directions on your prescription label.
Take norfloxacin with a full glass of water (8 ounces). Drink several extra glasses of fluid each day to prevent crystals from forming in the urine.
Take norfloxacin on an empty stomach 1 hour before or 2 hours after eating a meal, drinking milk, or eating a dairy product such as yogurt or cheese.
If you are being treated for gonorrhea, your doctor may also have you tested for syphilis, another sexually transmitted disease.
Take this medication for the full prescribed length of time. Your symptoms may improve before the infection is completely cleared. Skipping doses may also increase your risk of further infection that is resistant to antibiotics. Norfloxacin will not treat a viral infection such as the common cold or flu.
Store at room temperature away from moisture and heat. Keep the bottle tightly closed when not in use.
What happens if I miss a dose (Noroxin)?
Take the missed dose as soon as you remember. Skip the missed dose if it is almost time for your next scheduled dose. Do not take extra medicine to make up the missed dose.
What happens if I overdose (Noroxin)?
Seek emergency medical attention or call the Poison Help line at 1-800-222-1222.
What should I avoid while taking norfloxacin (Noroxin)?
You may be taking certain other medicines that should not be taken at the same time as norfloxacin. Avoid taking the following medicines within 2 hours before or after you take norfloxacin. These other medicines can make norfloxacin much less effective when taken at the same time:
- antacids that contain magnesium or aluminum (such as Maalox, Mylanta, or Rolaids);
- the ulcer medicine sucralfate (Carafate);
- didanosine (Videx) powder or chewable tablets; or
- vitamin or mineral supplements that contain iron or zinc.
Avoid caffeine while you are taking norfloxacin, because the medication can make the effects of caffeine stronger.
Avoid exposure to sunlight or tanning beds. Norfloxacin can make you sunburn more easily. Wear protective clothing and use sunscreen (SPF 30 or higher) when you are outdoors. Call your doctor if you have severe burning, redness, itching, rash, or swelling after being in the sun.
Antibiotic medicines can cause diarrhea, which may be a sign of a new infection. If you have diarrhea that is watery or bloody, stop taking norfloxacin and call your doctor. Do not use anti-diarrhea medicine unless your doctor tells you to.
Norfloxacin may impair your thinking or reactions. Be careful if you drive or do anything that requires you to be alert.
What other drugs will affect norfloxacin (Noroxin)?
Tell your doctor about all other medicines you use, especially:
- a blood thinner such as warfarin (Coumadin, Jantoven);
- clozapine (Clozaril, FazaClo);
- cyclosporine (Neoral, Sandimmune, Gengraf);
- glyburide (Micronase, Diabeta, Glynase);
- nitrofurantoin (Macrodantin, Macrobid);
- probenecid (Benemid);
- ropinirole (Requip);
- tacrine (Cognex);
- theophylline (Elixophyllin, Theo-24, Theochron, Uniphyl);
- tizanidine (Zanaflex);
- an NSAID (non-steroidal anti-inflammatory drug) such as ibuprofen (Advil, Motrin), naproxen (Aleve, Naprosyn, Naprelan, Treximet), celecoxib (Celebrex), diclofenac (Arthrotec, Cambia, Cataflam, Voltaren, Flector Patch, Pennsaid, Solareze), indomethacin (Indocin), meloxicam (Mobic), and others; or
- steroid medication (prednisone and others).
This list is not complete and other drugs may interact with norfloxacin. Tell your doctor about all medications you use. This includes prescription, over-the-counter, vitamin, and herbal products. Do not start a new medication without telling your doctor.
Where can I get more information?
Your pharmacist can provide more information about norfloxacin.
Remember, keep this and all other medicines out of the reach of children, never share your medicines with others, and use this medication only for the indication prescribed.
Every effort has been made to ensure that the information provided by Cerner Multum, Inc. ('Multum') is accurate, up-to-date, and complete, but no guarantee is made to that effect. Drug information contained herein may be time sensitive. Multum information has been compiled for use by healthcare practitioners and consumers in the United States and therefore Multum does not warrant that uses outside of the United States are appropriate, unless specifically indicated otherwise. Multum's drug information does not endorse drugs, diagnose patients or recommend therapy. Multum's drug information is an informational resource designed to assist licensed healthcare practitioners in caring for their patients and/or to serve consumers viewing this service as a supplement to, and not a substitute for, the expertise, skill, knowledge and judgment of healthcare practitioners. The absence of a warning for a given drug or drug combination in no way should be construed to indicate that the drug or drug combination is safe, effective or appropriate for any given patient. Multum does not assume any responsibility for any aspect of healthcare administered with the aid of information Multum provides. The information contained herein is not intended to cover all possible uses, directions, precautions, warnings, drug interactions, allergic reactions, or adverse effects. If you have questions about the drugs you are taking, check with your doctor, nurse or pharmacist.
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Elk Catholic holds Winter Athletic Awards program
The Winter Athletic Awards program honoring the winter sports athletes at Elk County Catholic High School was held on Wednesday evening. The program opened with an invocation by Father Ross Miceli, followed by the welcome by ECC Athletic Club President Chris Schneider. Principal Sandy Florig gave an overview of the program, followed by acknowledgements by Athletic Director Aaron Straub.First on the program was the awarding of the three-year letter winner certificates by the various coaches. Receiving the certificates were Brittany Auman, Megan Dornisch, Shelby Gorman, Crystal Hanes, Kathleen Kneidel, Hannah McGowan, Jodi Meyer, Alexis Schlimm and Erica Wehler for cheerleading; Karly Carnovale for girls' basketball, Tyler Herzing in boys' basketball; and Andrew Cotter, Alex Renwick and Ryan Struble in swimming and diving.Molly Eshbach received a plaque as a four-year letter winner in gymnastics.Letter jackets were presented to seniors Mitchel Haberberger and Trista Huey, juniors Marissa Armstrong and Ashley Seelye, sophomores JoAnne Aiello, Taylor DaCanal, Maura Keyes and Kylee Proudfit, and freshmen Emma Daghir, Joey Ferragine and Corey Koss.The next part of the awards program was for the co-op sports of swimming and diving, wrestling and gymnastics.Head Coach Mark DeMuro of the St. Marys Area Swimming and Diving team gave a brief summary of the season, noting that the team started out slowly, but came on strong at the end of the season as they sent two relay teams, two individual swimmers and two divers to the state meet. He noted that having a co-op with ECCHS has been beneficial for both schools. DeMuro presented letters to the following swimmers and divers: Megan Barber, Gianna DeMuro, Amanda Hansen, Justin Huey, Shannon Krieg, Thomas Murmann, Brittany Orr, Stephanie Buerk, Jacob Burns, Matt Hoffman, John Mosebarger, Melinda Stebick, Gideon Woelfel, Kelsey Bonifay, Gary Fledderman, Alec Foster, Michaela Rupprecht, Cassie Wonderling, and Tim Moseberger of the St. Marys Area High School. Receiving letters from Elk Catholic were Andrew Cotter, Alex Renwick, Ryan Struble, Maura Keyes, Jeffrey Moore, Kylee Proudfit, Emma Daghir, Joey Ferragine and Corey Koss. Letters were also presented to the team managers, Amy Orr and Brandon Orr.MVP and coaching awards for the swimmers will be presented at their annual banquet in April.Wrestling coach Dominic Surra discussed the recently completed season, noting that the team improved over last year as all the wrestlers worked very hard. St. Marys had three district champs this past season, Mike Brennen and Kevin Hoy of St. Marys Area and Joe McLaughlin of ECCHS. Surra presented McLaughlin with his letter and also introduced Dan Snelick of ECC, who had to sit out much of the season with a knee injury.Surra noted that his MVPs for the year were Kevin Hoy and Jimmy Antonelli.Gymnastic coach Irene McCandless was next on the agenda. She gave an overview of the 5-3 season, noting that the team finished second in their league and second in their division at the state meet. At the state meet, six of the seven gymnasts competing won medals.Molly Eshbach and Megan Longhi were the MVPs for the team. Eshbach was also presented with a plaque for setting a new school record in vault. Receiving gymnastic letters were Molly Eshbach, Laurel Pierotti, Abby Wittman and Mackenzie Neureiter of ECCHS and Bobbi Fox, Justin Huey, Megan Longhi and Michaela Sorg of St. Marys Area.Chrissie Schneider, junior high girls' volleyball coach, gave a short talk on the volleyball season, noting that 38 girls, 22 eighth graders and 16 seventh graders, made up the two squads. The girls took part in three tournaments and showed improvement with each game and tournament.Members of the eighth grade team were Abbey Bauer, Renee Buchheit, Felicia DePrator, Madlyn Ehrensberger, Nicole Florio, Elizabeth Glatt, Shaina Gorman, Marissa Heary, Kylee Kline, Sierra Meyer, Macy Reichard, Jolene Renwick, Hannah Schneider, Nicole Schneider, Ashley Schwabenbauer, Sydnie Stauffer, Jessica Tettis, Kirstie Wehler, Sophia Yanak and Samantha Zimmerman.Members of the seventh grade team were Rae Ann Bucher, Danielle DeLullo, Mackenzie Gahr, Abbey Gerg, Sydney Hoffman, Emily Kamats, Dali Ann Kirst, Lexi Knight, Mary Kraus, Emily O'Neill, Sarah Pistner, Elise Stebick, Laurel Szymanski, Sophia Viglione, Stacie Werneth and Hannah Wittman.Head boys' basketball coach Aaron Straub reviewed the junior high season, noting that they finished the season with a 19-3 record as they averaged 43 points and gave up 28 points a game. They won the Elk County and DuBois Central tournaments and finished second in the Tip Off Tourney. Members of the team were Ryan Childs, Taylor Feronti, Andrew Gebauer, Cory Huff, Vincent Jacob, Matt Jerko, Luke Kraus, Colton Lecker, Ben Reuscher, Brandon Schlimm, Elliott Struble, Nick Werner and Ivan Wortman. The scorekeepers were Nicole Hanes and Tara Trumbull. The junior varsity squad finished with a 19-3 record also and placed second in the Elk County Tournament. Members of the JV squad included Hank Cappiello, Devin Constable, Ben Cortina, Brock McCullough, Mitchell Gahr, Alex Herzing, Jack Herzing, Clayton Housler, Shea Meyer, Mitchell O'Neill and Scott Reichard.The Crusaders varsity team finished the season with a 25-5 mark. They started the season slowly, going 5-3 in their first eight games, but finished the season winning 20 of their final 22 games. They won the District 9 A Championship, the AML League, tied for first in the District 9 League and won the holiday tournament.Straub presented letters to the nine seniors: Ben Crowe, Ben Daghir, Luke Daghir, Josh Gebauer, Mitchel Haberberger, Tyler Herzing, Ricky Pearsall, Darren Simons and Eric Wehler. He also introduced the junior members of his squad: Michael Jacob, Kevin Kraus, Caleb Lecker, Brandon Pollick and Ben Wortman. Also recognized by Coach Straub were student assistants Thane Barber, Joe Hoffman, Trista Huey, Megan Fritz, Kacie Yost, Troy Caskey, Laura Buchheit and Laira Reuscher.Coach Straub presented Tyler Herzing with the Coaches Award for boys' basketball.Ken Pistner, Lady Crusaders basketball coach, highlighted the JV Lady Crusaders' season, noting that they finished at 13-9 on the year. He then introducted the JV players: Michelle Imbrogno, Morgan Onink, Kayla Weis, Stephanie Zimmerman, Michaela Cashmer, Hayley DaCanal, Chiara Genevro, Maria Scacchitti, Marla Scacchitti and Rachel Stauffer.Pistner noted that the varsity finished the season with a 19-10 record. The girls averaged 44 points a game, while allowing just 35 points. "The girls worked hard all season long and showed improvement with each game," he said.Letters were presented to the following varsity players: Karly Carnovale, Emily Gregory, Anna Hawkins, Ellie Petrosky, Helen Danz, Lexie Meholic, Abbi Petrosky, Jena Struble, Maggie Sorg, Taylor DaCanal and Kristy Hanes.Abbi Petrosky was presented the MVP award for offense and Karly Carnovale received the Coaches award.Marlene Stubber, cheerleading coach, gave a review of the cheerleading season, noting the the competition squad finished 17th in the nation in the national competition held in Florida. They also won every competition they entered in January and February, including the District 9 championship. The regular cheerleading staff cheer at the boys' and girls' basketball games.Members of the junior high squad this season were Sophie Assalone, Emily Bush, Ashley Gerg, Alex Imbrogno, Leah Kucenski and Allison Perryman.Earning letters this season were Ally Brock, Megan Dornisch, Crystal Hanes, Hannah McGowan, Alexis Schlimm, JoAnne Aiello, Maria Gismondi, Marissa Armstrong, Brittany Auman, Lindsey Gardner, Shelby Gorman, Kathleen Kneidel, Jodi Meyer, Ashley Seelye, Erica Wehler, Morgan Geyer and Jordan Lenox. Other members of the squad were Nicole Dattoli, Stacy Wickett, Jessica Chiodo, Marisa Cunningham, Sarah Bobenrieth and Sara Kucenski.Stubber presented Coaches awards to Crystal Hanes and Alexis Schlimm, with the Linda Bolden Memorial Award going to Hannah McGowan.


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Sandro to launch new UK flagship on Regent Street
Parisian fashion brand Sandro is to launch its new UK flagship on Regent Street, opening later this year.
12 May 2017
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Parisian fashion brand Sandro is to launch its new UK flagship on Regent Street, opening later this year.
12 May 2017
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Wall Street Journal Manages To Make The Netflix, ISP Streaming Kerfuffle Even Muddier
from the yes-I-said-kerfuffle dept
That said, the Wall Street Journal this week complicated things somewhat with a report on the streaming shenanigans that offers this curious, anonymously-sourced paragraph, which suggests big ISPs are letting peering links saturate intentionally:
"Until the standoff gets resolved, the bulk of Netflix's traffic continues to flow across Internet intermediaries, including low-cost carrier Cogent Communications Group. People familiar with Cogent's and Netflix's thinking say the cable and telephone companies are delaying upgrading existing connections. Executives at major broadband providers, meanwhile, privately blame the traffic jam on Netflix's refusal to distribute its traffic more efficiently."Again though, nobody can prove any of this because the network and peering data needed to do so is held tightly by all parties involved. Peering disputes generally involve core Internet companies agreeing to exchange equal amounts of data at hand-off points, often without compensation under confidential agreements. Historically, there have always been occasional skirmishes between companies as that balance gets out of whack. In recent years, those battles have intensified as last mile ISPs like Comcast have pushed for significantly more money to carry traffic, as we saw with the Comcast Level 3 peering fight from a few years ago.
In these disputes it has always been a goal to make the other guy look like the greedy one for leverage, though the Netflix problems have reached a new level. Netflix offers ISPs free access to their own Open Connect Content Delivery Network, which improves streaming performance. Larger ISPs have refused to join, not wanting to give what they see as a competitor to their own services (like Verizon RedBox streaming) any leg up, instead relying on their own CDNs that, theoretically, should offer equally decent performance. That those ISPs are suddenly seeing such dismal streaming performance suggests someone along the chain is being either cheap, incompetent, or is up to no good. Potentially all three.
Incumbent ISPs don't exactly have what you would call a stellar reputation for playing nice with disruptive companies or competitors, thus the theory that AT&T, Verizon and Comcast are intentionally letting these peering points saturate then pointing the finger at Netflix in the hopes of making them look bad. If that's the goal it's not working: data released this week suggests that Netflix just reached a three year high in customer satisfaction -- despite the price hike and Qwikster nonsense of a few years back. If the goal is to make Netflix look stupid, it doesn't appear to be working so far, and as the lowest rated industry in these kinds of rankings, it's probably futile for pay TV companies to try.
The whole mess is a good example of how net neutrality violations, should they occur, might not knock you over the head with their obviousness as traditional discourse has suggested. In fact, they might not even be provable. ISPs are too smart, and too wary of getting socked with new regulations. Instead, what you'll see is gatekeeper abuses dressed up under the guise of legitimate technical issues. Verizon Wireless, for example, blocked activation of Google's Nexus 7 tablet on their LTE network for six months, blaming Google and obscure technical certification issues (while selling users their own, inferior tablet in the interim). Wireless carriers also blocked Google Wallet from devices for proclaimed security reasons, while at the same time pitching their own, Isis mobile payment platform.
People were quick to cry foul in both instances. Do incumbents have a history of this sort of thing? Yes. Can you prove carriers were up to no good in either instance? No. It all makes the point that you probably could get away with net neutrality violations without regulators batting an eyelash. You just need to be a little bit clever about it -- with a dash or two of believable technical jargon for good measure. It also makes the point that with real neutrality violations inhabiting such murky territory, we're going to see a lot more people crying net neutrality wolf -- which only helps those engaged in anti-competitive shenanigans.


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In this engineering challenge, student teams are introduced to the engineering design process, and then construct and test an earthquake-resistant structure. The lesson plan includes teacher support, student worksheets, multimedia assets, and links... (View More) for students to conduct Web-based investigations. Authentic assessments, a multiple choice test, and rubrics are included. This is an optional extension activity associated with the resource, Flight Mission Challenge: Improving Earthquake Monitoring, a 3 part, multiple-day Earth science and engineering investigation. (View Less)
Materials Cost: 1 cent - $1 per group of students
Through an analysis of data sets on four parameters - sea ice totals, sea surface temperatures, near surface temperatures and surface type - students must decide whether the Arctic is experiencing climate change and predict any potential effects on... (View More) the rest of the planet. The activity in this lesson involves card sorting, a technique in which index cards, each containing content or diagrams, are grouped according to unifying concepts. The cards in this lesson contain graphs that students have downloaded, summaries they have written, and questions they have derived from the lesson. The graphs used in this activity show satellite data sets for a location above the Arctic Circle. Students will analyze and group the cards and will then write a conclusion in which they explain the connection between the four parameters, and relate them back to climate change. This lesson uses student- and citizen science-friendly microsets of authentic NASA Earth system science data from the MY NASA DATA project. It also includes related links, extensions, an online glossary, and a list of related AP Environmental Science topics. (View Less)
Materials Cost: 1 cent - $1 per group of students


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Phoenix Bats Model F110 (M110) Adult Wood Baseball Bat FREE SHIPPING!!!
Brand: Phoenix
Product Code: PHF110
Availability: Custom Made To Order
Product Code: PHF110
Availability: Custom Made To Order
Price: $90.00
The model F110 is based on the Louisville conversion M110. It has a good sized hitting surface with a thicker handle. The thick handle helps to balance out the bat and also give you better control in the hands. This is normally considered a power hitters bat. I guess that is why Mickey Mantle designed this model himself in the 60's.
|This bat is custom made to order and requires anywhere from 2 to 4 weeks to manufacture and deliver in most cases.
|Similar to a M110
|Standard Knob
|1 1/4" Bottom Hand
|1" Top Hand
|2 1/2" Barrel
|Choose from Pro Ash, Birch and Maple or Pro Ink Dot Certified Birch or Maple
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Host Hotels & Resorts, Inc. Names Struan B. Robertson Executive Vice President, Chief Investment Officer
Jan 25, 2013, 08:30 EST
BETHESDA, Md., Jan. 25, 2013 /PRNewswire/ -- Host Hotels & Resorts, Inc. (NYSE: HST) today announces the appointment of Struan B. Robertson as executive vice president, chief investment officer.
(Logo: http://photos.prnewswire.com/prnh/20060417/HOSTLOGO )
Mr. Robertson will lead the company in its domestic and international acquisition efforts. He is based at Host's headquarters in Bethesda, Maryland, and reports to W. Edward Walter, president and chief executive officer.
Mr. Robertson brings more than 23 years of real estate investment banking experience to Host. Most recently, he was co-head of global real estate investment banking at Morgan Stanley where he co-managed global teams across as many as 14 offices in 13 countries. He was also involved with a variety of major hotel sector deals in the United States, Europe, the Middle East and Asia. Prior to this position, he was in various roles at Morgan Stanley including head of European principal investment and investment banking and prior to that head of Asian real estate investment banking based in Tokyo, Japan.
Additionally, Mr. Robertson is a founding member and former board member of the European Public Real Estate Association, a trustee of the Urban Land Institute, and a special advisor to the World Economic Forum for Real Estate.
"We are very excited to welcome Struan to our team. His extensive real estate knowledge and experience will be very valuable to Host as we continue to grow our high quality portfolio of hotels," said W. Edward Walter, president and chief executive officer.
Host Hotels & Resorts, Inc. is an S&P 500 and Fortune 500 company and is the largest lodging real estate investment trust and one of the largest owners of luxury and upper-upscale hotels. The Company currently owns 103 properties in the United States and 15 properties internationally totaling over 62,300 rooms. The Company also holds non-controlling interests in a joint venture in Europe that owns 19 hotels with over 6,100 rooms and a joint venture in Asia that owns one hotel with approximately 300 rooms in Australia and a minority interest in seven hotels with approximately 1,750 rooms in India, two of which recently opened in Bangalore and five that are in various stages of development in two cities. Guided by a disciplined approach to capital allocation and aggressive asset management, the Company partners with premium brands such as Marriott®, Ritz-Carlton®, Westin®, Sheraton®, W®, St. Regis®, Le Meridien®, The Luxury Collection®, Hyatt®, Fairmont®, Four Seasons®, Hilton®, Swissotel®, ibis®, Pullman®, and Novotel®* in the operation of properties in over 50 major markets worldwide. For additional information, please visit the Company's website at www.hosthotels.com.
* This press release contains registered trademarks that are the exclusive property of their respective owners. None of the owners of these trademarks has any responsibility or liability for any information contained in this press release.
SOURCE Host Hotels & Resorts, Inc.